Technical Report:
Technology Review
Document ID / WP1-T1-TRDocument Version / 1
Local Path / Corpus2/socis/work_packages/wp1/technical_review.doc
Authors / Lee Gillam
Function / To explore available data capture technologies
Distribution / Surrey, Sheffield, Police Forces
Comments
Table of Contents
Digital Camera Guide to Technologies
Nikon Coolpix-950
Canon Powershot Pro70 - £625
Sony DSC F505 - £505
Comments from an imaging consultant
Comments from Hayden B. Baldwin, Executive Director, International Crime Scene Investigator's Association
Associated Technologies
Conclusion
Digital Tape - Sony NT-2 - $1695.00
Olympus D1000 Digital Voice Recorder PACKAGE With ViaVoice Transcription Software - approx $289
Digital Voice Recorder DS-150 - $179
design customisation
Chapter
1
Generic Technology
Ideal technology versus the available reality
t
he idea of a Scene of Crime Officer performing mostly hands-free data collection is not yet a realistic task due to the various limitations with current technologies. Digital cameras, for example, are rather cumbersome and have limited data transfer capabilities - infra-red communications between cameras and computers are in the early stages. Speech capture systems, specifically radio microphones for limited power remote usage, interfacing directly with speech recognition software are still a while off, while actual speech recognition technologies still need to be evaluated within this particular domain. If we combine these needs, with the possibility for electronic capture of other 'media' such as scene of crime sketches perhaps on a PDA, the number of possible individual technologies increases along with the number of possible, though immature technologies that can be used in integration. A further consideration to be made is that all these devices need a variety of power sources, with each having an individual operational period. While we are some distance from the ideal, there are a number of these individual technologies that will be investigated, with a view to their use in immediate data capture. This document will also serve as a reference point for evaluating technologies to satisfy these needs at other points in the future.
1
DIGITAL CAMERAS
Chapter
2
1
DIGITAL CAMERAS
Digital Camera Technologies
This chapter deals with the state-of-the-art in digital camera technologies.
D
igital cameras are a fairly recent technology at the time of this document. As each manufacturer attempts to become the market leader in this non-homogenised digital area, a number of non-standard features are being introduced into these devices. Key issues that are of concern for SOC images are, for example, the possibility to 'watermark' images and the clarity of the images at higher magnifications. From a data oriented point of view, these concerns are less critical and issues such as the ability to store, capture and transfer these images are key.
Digital Camera Guide to Technologies
The non-standard components of various cameras have a number of features, strengths and drawbacks that are worth considering. These can be summarised as:
Data transfer - mechanisms, rates, active storage
Image magnification, clarity
Image 'security'
Peripherals
Cost
Nikon Coolpix-950 - £650
Pixels / 2.11 Megapixel CCDPicture size / 1600x1200, 1024x768 or 648x480, 4 quality Settings
Lens / 7-21mm (38-115mm equivalent), 3x power zoom, f/2.6
Focusing / TTL Auto or manual focus, 2cm macro
Flash / Auto, forced, off, redeye reduction. Range: 8cm - 3m
Sensitivity / ISO 80
Shutter / 8s - 1/750 (mechanical)
Modes / Shutter priority, aperture priority, programmed AE
Viewfinder / Real image optical or via screen.
Screen / 2" Polysilicon
Storage / Removable: CompactFlash (8MB supplied, holding 1 pictures at highest resolution/quality or 32 pictures at lowest resolution/quality)
Interfaces / Serial, Video out (Local)
Batteries / 4xAA
Compatibility / Windows 95 or later & Mac OS7.5.1 or later
Other features / Uncompressed mode; Quick start; Best Shot Selector; Manual Gain; Tone compensation; External TTL speedlight control; Lens conversion options.
Dimensions / 143(w) X 36.5(d) X 76.5(h)
Weight / 350g excluding batteries
In-the-box / Camera; Soft case; Wrist strap; 4xAA batteries; 8MB CF card; Serial cables; Video cable; User guide; Software kit (CD-ROM)
Options / Various CompactFlash cards; AC adapter; Wideangle & Fisheye conversion Lenses; External flash bracket; PCMCIA adapter
Source: Digital Camera Company
PC Pro's verdict was that "High image quality and a truckload of features are undermined by fiddly controls and unreliable PC link software."
Furthermore, the PC Pro review in issue 58 says:
Nikon's CoolPix 950 boasts a similarly high resolution of 2.11 million pixels, giving pictures of 1,600 ´ 1,200 resolution. More importantly, it manages to maintain a high level of quality while keeping file sizes small. In fact, at its highest quality setting, the CoolPix 950 manages to compress its full resolution images by a ratio of around seven to one without sacrificing quality. This allows you to fit an average of ten shots onto the supplied 8Mb CompactFlash card. Unlike the MX-2700, the CoolPix 950 can save and store images in uncompressed TIFF file format. However, at around 5.5Mb per image, you'll only be able to fit a single shot at a time on the card
Even with the compression turned on, the CoolPix 950 is capable of extremely impressive results. In terms of sheer detail captured and image quality, it easily outstrips not only the MX-2700 but also the Minolta Dimage EX Zoom 1500 (reviewed issue 53, p177) and the Olympus C-900 Zoom (reviewed issue 54, p174).
In fact, the only cameras that come close are the Sony Cyber-Shot DSC-55E (reviewed p167), which is slightly below it in terms of quality, and the Canon PowerShot Pro 70 (reviewed issue 54, p165), which is slightly higher up the rankings thanks to its fantastic colour, crisp focus and overall image quality.
Nikon has also managed to pack a more bewildering array of features into the CoolPix 950 than we've ever seen in a digital camera. Like many 35mm cameras, the 950 features two main shooting modes: A-Rec (automatic) and M-Rec (manual). The first of these is simply a point-and-shoot mode allowing you to select your flash mode - automatic, fill, red-eye reduction and off are available - and choose between normal, infinity and macro focus modes. Aperture size, shutter speed, white balance and sensitivity settings are all dealt with automatically.
In M Rec mode, things become a little more complicated. Here you can choose between aperture or shutter priority exposure modes, matrix, spot or centre-weighted light metering, and set the sensitivity level. You get a total of three aperture settings to choose from, in the range f-3.9 to f-11, and the shutter speed can be adjusted from a 500th of a second right up to eight seconds. There's also the option to pick from a list of preset white balance settings or you can manually set your own.
Even more clever than this, however, is the CoolPix 950's best-shot selection feature. With this mode turned on, the camera takes a series of shots, compares them and then picks the one with the most detail. Unfortunately, the 950's extensive range of adjustments and features can make things confusing. Some functions can only be accessed by the fiddly process of holding one button down while turning a small dial at the front underneath the shutter button. This means important adjustments to shutter speed or aperture size are more awkward to make than they should be.
Fortunately, the rest of the CoolPix 950's ergonomics are up to scratch. It feels solidly built and, like its predecessor the CoolPix 900 (reviewed issue 48, p164), the 950 is split into two halves with a joint in the centre. This allows the 3x zoom lens (38-115mm equivalent), optical viewfinder and flash to be rotated independently of the main camera body, which houses a decent 2in TFT screen. It may sound gimmicky but the design means you don't need to crouch, contort your body or crane your neck in order to take pictures from different angles, and it makes overhead shots particularly straightforward.
When it comes to transferring the images to your PC using the 115Kbits/sec serial link, the CoolPix 950 does its best to thwart you. Quite apart from the fact that it doesn't support TWAIN, I found that the supplied NikonView software, which works by mounting the camera as a virtual drive in the Windows Explorer, worked intermittently at best. I only managed to download one image at a time before having to restart the software and re-establish the connection, which was really annoying. At least the inclusion of a copy of Adobe Photoshop 5 LE goes some way to redeeming the situation.
This problem, and the camera's over-fiddly controls mar what is otherwise a high-quality digital camera. Image quality is only bettered by Canon's Powershot Pro 70, which costs considerably more than the £681 Nikon. It's also well built and boasts more features and adjustments than you can shake a stick at.
Canon Powershot Pro70 - £625
Pixels / 1.68 Megapixel CCDPicture size / 1536x1024 or 768x512, 3 quality Settings
Lens / 6-15mm (28-70mm equivalent), 2.5x power zoom, f/2
Focusing / TTL Auto focus
Flash / Hotshoe
Sensitivity / ISO 100-400
Shutter / 1/2 - 1/8000
Modes / Aperture priority, programmed AE
Viewfinder / Real image optical or via screen.
Screen / 2" LCD
Storage / Removable: CompactFlash (15MB supplied, holding 5 pictures at highest resolution/quality or 180 pictures at lowest resolution/quality)
Interfaces / Serial, Video out (Local)
Batteries / Lithium Ion rechargeable
Compatibility / Windows 3.1/95/98/NT and Mac
Other features / Twin CF slots, remote release connector, dedicated flash hotshoe.
Dimensions / 145(w) X 132(d) X 85(h)
Weight / 650g excluding batteries
In-the-box / Camera; 15Mb CF card; Nickel-Metal-Hydride battery; Charger; Cables; User guide; Software kit.
Options / Various CF cards; EOS Speedlite EX series flash
Source: Digital Camera Company
PC Pro's verdict was that " A classy piece of kit with image quality and a price tag to match. Worthy of an Honourable mention this month."
Furthermore, the PC Pro review in issue 63 says:
Both the price and form factor make it clear that the Pro70 is aimed at the advanced amateur photographer wanting to go digital. Its hefty, no-compromise build quality is more reminiscent of mid-range SLR (single lens reflex) cameras than the more common point-and-shoot variety. Features such as the hot shoe external flash connection, the lens housing-mounted zoom control, remote shutter control socket and twin CompactFlash slots - one of which will allow you to insert a Type II Card such as the 340Mb IBM microdrive (reviewed p179) - further the professional feel.
It has fewer controls than we'd expect from a camera with such high-end pretensions, however. Although you get a Program mode to accompany the point-and-shoot automatic mode, it only gives you aperture priority and exposure compensation adjustments, with no control over shutter speed or focus. There's clearly some high-quality optics inside, though, as you can see from the close-up above and the results pages (see p120). It may not boast as ludicrously high a resolution (just 1,536 x 1,024) as many of the other cameras, but this doesn't prevent it from producing the very best in image quality. It produces balanced, detailed and colour-rich images that only the Sony DSC-F505 and Olympus C-2500L can match.
The only problem with the Canon PowerShot Pro70 is the cost. At a street price of £769, it's the second most expensive camera on test, and adding a flash will set you back another £130. It does have an edge over the DSC-F505, thanks to superb image quality and a proper optical viewfinder, but doesn't come close to it for value.
Sony DSC F505 - £505
Pixels / 2.11 Megapixel CCDPicture size / 1600x1200, 1024x768 & 640x480, 2 quality Settings
Lens / 7.1-35.5mm (38-190mm equivalent), 5x zoom, f/2.8 - f/8
Focusing / TTL Auto or manual focus, 8cm macro
Flash / Auto, forced, off. Range: 3m
Sensitivity / ISO 100
Shutter / 1/6 - 1/600
Modes / Shutter priority, aperture priority, programmed AE, sound recording
Viewfinder / Via screen
Screen / 2" LCD
Storage / Removable: Memory Stick (4MB supplied, holding 8 pictures at highest resolution/quality or 63 pictures at lowest resolution/quality)
Interfaces / Serial & USB, Video out (Local)
Batteries / Lithium Ion rechargeable
Compatibility / Windows 95/98
Other features / Rotating lens; Solarize, B&W, Negative and Sepia effects; In-camera movie playback;
Dimensions / 107(w) X 136(d) X 62(h)
Weight / 435g excluding batteries
In-the-box / Camera; NP-F10 battery; Charger/AC adapter; 4Mb memory stick; Cables (Serial, Video & USB); hand strap; Lens cap; User guide; Software kit.
Options / Various Memory sticks; Fast charger; PCMCIA adapter.
Source: Digital Camera Company
PC Pro's verdict was that " Fantastic quality, a stunning macro mode and great value for money. The best digital camera buy we've seen yet."
Furthermore, the PC Pro review in issue 63 says:
Despite its strong branding in virtually every sector of consumer technological goods, Sony has never been big in cameras. The company's only offerings at the consumer end of the digital market - the Mavicas - couldn't challenge the likes of Nikon, Kodak and Olympus when it came to quality.
Its latest models have changed all that. At the top end of the range sits the DSC-F505, a 1,600 x 1,200 resolution camera with a 5x optical zoom lens - the biggest of any camera on test - and a digital zoom mode. It boasts all of the features you'd expect of a camera in its price bracket: manual focus, shutter and aperture priority settings, variable light metering modes and a high-quality macro mode. The latter allows you to shoot subject matter from a range of 8cm while keeping everything in the crispest focus.
The camera even allows you to shoot short MPEG movie clips, up to 15 seconds in length, just like its smaller cousin the DSC-F55E. Strangely enough, though, there's no optical viewfinder and you have to rely on the 2in LCD screen to frame your shots. While this is fine in most circumstances, in dimly-lit environments it makes it difficult to see what you're shooting.
As you can see from the results pages (see p120) and the close-up above, all of this goes together to produce some remarkable image quality. The level of detail and focus is impressive in all conditions, and the correct colour balance, using the presets and manual mode, is easy to achieve in all lighting conditions. The DSC-F505 was almost inseparable from the Canon PowerShot Pro70 and Olympus C-2500L in terms of quality, but just lost out in the end to the Pro70's slightly superior colour accuracy.
The DSC-F505 does, however, beat these two cameras in terms of value for money. In fact, its extremely reasonable price tag of £596 was enough to scoop PC Pro's new overall Winner award.
Comments from an imaging consultant
"This sounds like a fascinating project! I have visited your web site, but haven't thoroughly read the complete proposal. However, in what I have read so far, this looks like a project that can benefit many fields.
As to which digital cameras to use, my initial thought is to utilize those with built-in microphones - thus eliminating the need for seperate image and audio recording devices.
"The second criteria would relate to the type of crime/quality of image. For instance, low-end crimes (car burglarlies, vandalism, minor assault) can be documented with low-end, point-and-shoot type cameras. However, major crimes may require a higher quality digital camera such as thowe utilizing 35mm SLR camera bodies and relatively large chips. I am uncertain which category you are considering.
"Most US agencies are utilizing Kodak, Nikon, Epson and Olympus brand digital cameras. Some are using the Sony Mavica cameras - though I can't imagine this lasting too long due to the undependability of the floppy media and the low resolution images.
"On a seperate issue, I have an interesting idea on the extraction of the data itself. Since many in forensics (as well as most fields) use Adobe Photoshop for some of their imaging. And, since Photoshop supports the photojournalism NAA/IPTC records, perhaps the audio could be extracted into the IPTC record in Photoshop, then extracted from there to create the database. By placing the data in the IPTC record, it essentially becomes a part of the image file itself (the IPTC record is included in the header).
"Also, I am curious as to what kind of response you are getting to th concept in general. Although I have been using computers for imaging applications for a number of years, I still feel a bit distrustful of voice recognition, and even a bit odd in speaking to my computer or camera. I wonder if speech will be a more difficult transition than imaging in computers.
"If I can help with your project in any way, please don't hesitate to contact me. And, please keep me appraised of the progress of this project."
George Reis,
Ph: 714-775-3120
Free Radical Enterprises Fx: 714-775-2212
Digital Imaging, Consulting and Training
Specializing in Forensic Applications
Comments from Hayden B. Baldwin, Executive Director, International Crime Scene Investigator's Association
"Your question on what kind of digital camera to use in a crime scene is difficult to answer. The reason I state this is because of the way cameras are used in crime scenes in general. Crime scene photography requires a camera that can be used for general scene photos, medium shots and close-ups. The camera also must be able to take timed exposures and 1:1 photos of evidence for comparisons, i.e., tool marks, fingerprints, blood stain pattern droplets, etc.
"So far no digital camera that I know of is capable of doing all of that. However it can be accomplished by using the digital camera for the general and medium scene photos and use a regular 35 mm for the macro and timed exposures.
"I have a Nikon 950 digital camera and it is capable of taking extremely sharp macro photographs. The problem is that the adjustment for aperture settings is limited, thereby limiting the depth of field focusing which is of primary importance in photographing a fingerprint on a curved surface at the crime scene.
"I also have a Sony TRV 900 Digital Video camcorder that has the ability >to take outstanding professional video at the crime scene AND great still photography with the same camera. Digital imaging is a great way for law enforcement to use but it does have its limitations, but it also has great potential!